Wiktoria and Filip Bieliccy collect fragments of landscapes, material traces of specific places, and transform artefacts archived through 3D scanning into the language of design using Incremental Sheet Forming (ISF) technology. Based on digital compositions, they sculpt thin sheets of metal with the use of a robotic arm. “This technique allows us to treat metal in a sensitive and precise way, evoking rhythms of growth, erosion, and decay,” they explain. The aluminum furniture - whose relief fronts resemble dust-covered finds from Pompeii and whose interiors recall the structure of geological maps - is enriched with naturalistic electroplated details: insect “brooches” or branch-shaped handles. Cabinets from the Fragile Inner collection serve a functional purpose, yet above all they act as time capsules, personal archives of memory, the duo’s “black boxes.”

In the Corpus Ornamentum series, Zuzanna Spaltabaka and Igor Jansen focus on precise fragments of reality that reveal the decorative yet ominous potential of nature. They examine and abstract its traces: bark beetle trails, ivy tendrils, or the texture of a trunk etched by parasitic fig growths - forms shaped through struggles for light or space. Inspired by Szczepkowski’s woodcarving tradition, they create ceramic renderings of these motifs, expanding them into abstract two-hundred-kilogram reliefs that they inlay into furniture surfaces. Gentle, elegant walnut frames and structures are set against ornamental imprints of natural conflict, violence, and appropriation. Their objects become material testimonies to the coexistence of ambivalent forces and to the search for proportion between aestheticization and the brutalism of existence.

What in classical still life is often concealed within the symbol of a skull or a candle becomes literal in the works of Agnieszka Mazur - present as a physical component of the objects themselves. The artist creates her lamps from pure quartz sand (in the White Virgin series) or from darker dust containing fragments of shells and marine organisms (in the Knitting Sand series). The material, produced through the erosion of rocks into fine particles, is developed using her own technique which, although reminiscent of 3D printing, remains manual - even bodily and meditative. “Just as in traditional knitting, where each stitch is a unit of attention given, here each applied layer of sand is a real record of time. It is a slow, rhythmic building of form,” she says. Mazur’s organic objects function as lamps, but also as vanitas-like “hourglasses”.